“Ontological Abstraction” Defining Ehud Grably’s Oeuvre

 Creating a new art movement and attributing it to Ehud Grably was an intriguing idea, but it was important to approach this concept with careful consideration. Instinctively, having personally grappled with Grably’s oeuvre for more than five years, it was genuinely felt that “Ontological Abstraction” could plausibly provide a distinctive framework for deeply and meaningfully understanding Grably's work, in an academically sound manner, potentially increasing interest from academics, critics, collectors, and the art appreciating public at large. The term itself suggests a philosophical underpinning to Grably's art, that aligns with Grably's known interest in reducing art to its “atomic” basis and literary references to Grably's works being “Grablyistic,” and representative of “Grablyism.” Positioning Grably as the founder of a previously unarticulated art movement could elevate Grably’s status in art history and potentially justify renewed scholarly interest. A newly-named and posthumously formulated art movement could also provide a compelling narrative for Grably’s upcoming exhibitions, publications, and auction sales of Grably’s original artworks in London and New York City. However, if there was no clear evidence that Grably himself used this term or explicitly founded such a movement, it could be seen as posthumously imposing an unrealistic and unrepresentative framework on his life’s work. The art world and art history academia would also in all probability be skeptical of a newly coined movement for an artist who has been deceased for three decades. Labelling Grably's diverse body of work under a single movement might also be perceived as oversimplifying his artistic evolution and range. There could also quite rightly be ethical concerns about retroactively creating an artistic movement for “promotional” and purely “commercial” purposes, which are currently, as well as in the foreseeable future, wholly irrelevant in respect of the two hundred and sixty original Grably artworks currently held in my private family collection.

In order to proceed with the necessary academically sound prudence and caution, various factors were taken into consideration. First and foremost, any notion of Grably having unknowingly articulated a new movement in the art world during his lifetime had to be grounded factually in Grably’s oeuvre genuinely reflecting themes and approaches evident in his art, and in his own writings, that could plausibly justify the term “Ontological Abstractionism.” “Ontological Abstraction,” it turns out, does indeed genuinely and authentically reflect themes and approaches evident in Grably’s unique oeuvre and in his personal literary works that he composed during his lifetime. Before categorising Grably's oeuvre under the posthumously developed concept of “Ontological Abstraction,” each of Grably’s two hundred and sixty original artworks which were readily available, were carefully considered in the explicit context of “Ontological Abstraction.” Numerous patterns and themes across Grably’s entire body of work were identified that explicitly support Grably’s “Ontological Abstraction” narrative. All of Grably’s known writings and statements were also carefully and thoughtfully considered. Many of Grably’s artistic philosophies, as he himself clearly articulated during his lifetime, unequivocally support the contention that his oeuvre can plausibly and legitimately be interpreted and understood through the unique artistic lens of “Ontological Abstraction,” in an academically sound fashion and in a long-term commercially viable investment context.

Art historians and art critics alike have been formally invited, on numerous occasions, to invalidate or validate Grably’s contribution to the creation of “Ontological Abstraction.” To date, for whatever reason, there has been no response forthcoming. The precise meaning of this non-response is arguable, considering that only the upper echelons of the global academic art community and art critique establishment have been approached. Whether or not these well respected academics and prestigious art critics are willing to validate this categorisation of Grably’s oeuvre is with all due respect inconsequential to the incontrovertible facts when objectively considering Grably’s unique contribution to late twentieth century global art. Validation or invalidation from any reputable artistic quarter does not change any of the currently known facts in relation to Grably’s incontrovertible biographical information, or his unimpeachable artistic oeuvre, particularly insofar as my family’s private collection of Grably’s original works is concerned. All of the known and relevant facts are objectively self-evident and inherently self-explanatory: (i) Grably’s oeuvre relates directly to the philosophical study of being, or existing, depicted through art. Grably’s works undoubtedly explore the nature, properties, and relations of entities. Grably’s own writings in this regard are self-evident and self-explanatory; (ii) Grably’s oeuvre, on a plain objective visual reading and analysis, departs drastically from the realistic representation of visual realities. Many of Grably’s works involve simplification, distortion, or complete abandonment of recognisable objects and forms. Grably’s oeuvre focuses primarily, again on a purely objective reading, on the basic artistic elements of colour, line, shape and texture to evoke emotions or convey ideas; (iii) The vast majority, if not all of Grably’s known works, demonstrate in one way or another, Grably’s own idea of reducing art to its “atomic” basis and show a strong connection between abstract forms and fundamental questions of being. Many of Grably’s artworks also blend abstract forms with more seemingly recognisable elements that represent the intersection of concrete existence and abstract concepts, exploring themes of identity, selfhood, otherness, existence, being, and the very nature and essence of reality itself. Grably’s oeuvre, on a strictly objective reading, naturally and seamlessly aligns with both the “Ontological” and the “Abstractionist” aspects of the posthumously proposed art movement titled “Ontological Abstraction,” in honour of Ehud Grably’s oeuvre.

Grably’s ten-part “Out of the Shadows” (circa 1980-1981) etching series is the undisputed “locus classicus” of Grably’s “Ontological Abstraction” narrative. This series reveals intricate layerings of meaning, with lines and forms chosen not simply for their aesthetic value but for their spiritual and philosophical significance within Grably’s own unique artistic traditions. This series vividly reflects Grably’s attempt to visualise the uncertainty and interconnectedness described in quantum theories, adding a new dimension to his abstract works. These etchings are a haunting exploration of the human form through a surrealist lens. The works are a powerful testament to Grably's mastery of line and composition, as well as his ability to convey profound psychological depths through his art. The etchings in this series are characterised by a sense of movement and energy, with various fragmented figures and forms seemingly emerging and receding from the light and the shadows. Grably’s lines are bold, gestural, and expressive, creating a sense of dynamism and tension within the compositions. Grably's use of negative space is particularly striking, with the white areas of the paper serving as both a backdrop and as an integral part of the compositions themselves. The interplay between the darkness of the etched lines and the lightness of the untouched paper creates a haunting contrast, inviting the viewer to contemplate the relationship between light and shadow, presence and absence. The figures themselves are distorted and elongated, their forms twisted and contorted in ways that evoke a sense of discomfort and unease. 

Grably's ability to capture the essence of the human figure while simultaneously distorting and abstracting it is a testament to his profound understanding of human anatomy and artistic form. Despite the apparent chaos and fragmentation, there is a sense of rhythm and flow to his “Out of the Shadows” series, with the various elements seeming to coalesce and interact in a harmonious artistic dance throughout. Grably's use of repetition and variation throughout the series further creates a sense of unity within the work as a whole, inviting the viewer to explore the intricate relationships between the various forms and figures, panel by panel. One cannot help but be drawn into the psychological depths of Grably’s “Out of the Shadows” series, with its surrealist imagery inviting a multitude of possible interpretations. The distorted figures and the sense of tension and movement suggest themes of anxiety, isolation, and the fragmentation of identity in the face of modern life, to name but a few. At the same time, the series’ title, “Out of the Shadows” hints at a sense of emergence and revelation, suggesting that these fragmented forms may be representations of the subconscious mind, emerging from the shadows of the psyche and demanding to be acknowledged and explored. Grably's “Out of the Shadows” series constitutes striking and powerful artistic work that showcases his incredible talent and unique artistic vision. It is a testament to the enduring power of surrealist art to challenge our perceptions, evoke powerful emotions, and invite us to explore the depths of the human experience. Grably's mastery of etching and his ability to imbue his works with a sense of movement and energy through his mark-making remains true to his broader artistic vision and the conceptual depth of his oeuvre as a whole, representing the unflinching exploration of the human psyche, constantly and relentlessly inviting viewers to confront the shadows that lie within themselves and society, with the same raw honesty and emotional intensity that characterises Grably’s philosophical artistic writings. 

The shackled, tormented figures in the twisted, intertwined forms in Grably's “Out of the Shadows” series appear physically and metaphorically bound. This suggests that Grably was fearlessly probing the same imposed societal constraints and internalised oppression related to acceptable gender norms and sexuality that he confronted in 1979 in “BIRTH B” | “Toxic Masculinity | The Elephant Slaves”. Furthermore, the evolution between the works from distinct individual anguish, to figures literally melding and blurring boundaries, to the final composition’s dissolving distinctions between masculine and feminine forms, could very well be representative of Grably's own philosophical journey towards increasingly fluid conceptualisations of gender as a non-binary spectrum of identities and expressions. In many ways, Grably’s “Out of the Shadows” series emerges as the spiritual successor to his earlier “Toxic Masculinity” masterpiece, a profound manifesto celebrating the absolute necessity of breaking free from the "toxic" cultural systems and narratives that repress the essential, multifarious truths about who we are as gendered, sexual beings. Through so linking and cross-referencing Grably’s profound oeuvre, one gains a powerful insight into his courageous, uncompromising vision as an artist, committed to dragging human society's darkest psychological shadows, surrounding identity and subjugation, into the searing light of emotional honesty and cathartic expression. A profound artistic statement in which Grably categorically rejects outdated self-imposed “certainties” about sexuality and selfhood in favour of a more truthful, if unsettling, depiction of the human experience existing beyond rigid categorisations. These resonant interpretations of Grably’s oeuvre tracks one’s thoughts and insights across Grably’s thematic alignments with his own statements and specific artworks, illuminating a profound artistic coherence in Grably’s overall oeuvre. Such in-depth analysis and thought becomes an embodiment and validation of Grably’s intense lifelong commitment to liberating art.

While Grably’s contemporaries in London and New York City were engaging with aspects of ontological themes, Grably’s work stands out for its intensity and the clarity of its existential focus. As more academics, critics and historians recognise the unique contributions of Grably’s artwork, his influence on the development of “Ontological Abstraction” will undoubtedly become more apparent. Grably’s contributions provide a clear and direct link between abstract art and ontological inquiry, offering a distinct and influential voice within the global art scene. “Ontological Abstraction” aims to connect viewers with the profound and often ineffable dimensions of human life. Attributing “Ontological Abstraction” as an artistic movement to Ehud Grably has not been done so lightly. Attributing a new movement to an artist posthumously requires substantial evidence and careful consideration to maintain academically sound credibility and respect for the artist's original intent. Substantial evidence and careful consideration have unequivocally served as the cornerstones of any arguments put forward to validate this new art movement and to attribute it in large part to Grably’s unique oeuvre and his broader uniquely “Grablyistic” artistic philosophy. While “Ontological Abstraction” could be an interesting lens through which to view Grably's work, it was crucial to balance creativity in interpretation with historical accuracy and academically sound ethical artistic and art historical considerations. By synthesising influences from abstract expressionism, neo-expressionism, and primitivism, with intense psychological, philosophical and jurisprudential influences and underpinnings, Grably’s work contributes to the evolution of these movements and disciplines and their respective relevance in contemporary art. Grably’s focus on primal energy, human rituals, and ontological themes places him within a global context of artists exploring the nature of existence and the human condition through his own unique “Ontological Abstractionist” lens that he was sadly unable to specifically articulate during his short life. In this context Grably’s posthumous recognition as the father of “Ontological Abstraction” becomes even more poignant. Despite being overlooked and forgotten for three decades, Grably’s technical skill, thematic depth, and innovative approach highlight his importance as a master artist deserving of greater recognition. The goal has always been, and always will be, to illuminate Grably's unique contributions to art rather than to create a potentially controversial art history narrative.

Grably's analogy is rooted in the scientific concept of the atom, representing the smallest, indivisible component of matter. This gives his analogy a precision and universality that is deeply anchored in both science and art, suggesting a convergence of artistic creation and scientific discovery. Grably’s analogy emphasises the dual potential inherent in reaching fundamental elements, the path of innovation and constructive use versus the path of stagnation and destruction. This duality is a unique aspect of Grably’s analogy, reflecting both the creative and destructive potentials of delving into the basic elements of art. Grably’s analogy extends beyond the formal elements of art to include a profound exploration of existential and ontological themes. His work reflects an ongoing inquiry into the nature of existence, identity, and reality, tying the fundamental components of art to deep philosophical questions. Grably’s vision includes a holistic approach to the creative process, where the artist acts as both a scientist and a creator, distilling raw ideas into pure, elemental forms. This reflects a seamless integration of concept and execution, highlighting the parallels between artistic and scientific methodologies. Grably’s analogy captures the dynamic interactions within the atom, which parallels the interplay of forms and colours in his artistic compositions. Grably’s emphasis on constant motion and energy within the fundamental components of art suggests a universe in perpetual flux, aligning with quantum theories and adding a unique dimension to Grably's abstract oeuvre. Grably’s analogy encompasses a much broader cultural and temporal resonance than other historical art analogies, reflecting the complexities and advancements of contemporary society. Grably’s work is positioned within the context of late twentieth century global art, contributing to a more inclusive and comprehensive narrative of art history. Grably’s “atom” analogy is unique in its scientific precision, dual pathways, integration of existential themes, holistic approach, dynamic interactions, and cultural resonance. This combination provides a powerful framework for understanding Grably’s vision for the future of art and his significant contributions to the field which deserve long overdue academic recognition, as well as appropriate recognition from the global art community.

Schulman, M & Various AI GPTs

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